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| 1. Winter - Minnesota Orchestra |
| 2. Spring |
| 3. Summer |
| 4. Autumn |
| 5. I. Preambule |
| 6. II. Marionnettes |
| 7. III. Mazurka |
| 8. IV. Scherzino |
| 9. V. Pas D'Action |
| 10. VI. Danse Orientale |
| 11. VII. Valse |
| 12. VIII. Polonaise |
Vremena Goda placed a glorious crown on Glazunov's ballet composing period, starting with Raymonda of 1896 and then Lady Soubrette of 1898. The Seasons was one of the composer's most performed works, until it inexplicably disappeared by the late 1970s. Whereas Raymonda continues to prop up on the theatrical stage (the Boishoi performed this past spring), Lady Soubrette and Vremena Goda continued to be shelved. This is unfortunate, since the ballets, especially Vremena Goda, contained the true essence of Glazunov: beauty, vividness, imagination, ingenuity.
The essence could be found in Scenes de Ballet of 1894. The suite, in eight movements, is a set of evocative dances very close to his ballets, especially the Mazurka and the Marionette (used by the composer in Lady Soubrette). Also memorable is the Pas d' action and Dance Oriental.
Edo de Waart performances of the works with the Minnesota was dutifully well done. However, the performances lack the Russian sonority to be found in recordings featuring Jarvi, Svetlanov, and Rozhdestvensky. Edo de Waart and his orchestra played under-enthused and the winds sounds muddled in many places. The recording sound is also muddled and lacks atmosphere.
For Vremena Goda, try Jarvi and the Scottish National Orchestra (Chandos), Svetlanov and the Philharmonia (London Decca), or Ashkenazy and the Royal Philharmonic (London Decca). For Scenes de Ballet suite, go for Jarvi and the Scottish National Orchestra(again, Chandos) or Rozhdestvensky and the Moscow Radio Symphony (Russian Revelation).
This recording is recommendable, but with serious reservations.
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